Transcript
7/23/2019 l'Histoire Du Soldat
http://slidepdf.com/reader/full/lhistoire-du-soldat 1/12
The
Soldier's
Tale
Geschichte
vom
Soldaten
HISTOIRE
DU
SOLDAT
edited
by
James
Blades
Bass
Drum
Field Drum
Snare
Drums
IGOR
STRAVINSKT
edited
bv
John
Carewe
Percussion
part
Tambourine
Triansle
Cymbal
Percussion:
(see
Editor's Note
on
page
l2)
e
(edge)
(centre)
III
(large)
(small)
(bo
(1,r
L
Cornel
poco
{
secco
('7\
44'..,
50@
*
The original
indicates
that
the
right
hand
mallet
serves
to
strike
the tambourine and the snare drum.
O
Copyright
for
all
Countries
1987
J.
&
W.
Chester/Edition Wiihelm
Hansen
London
Ltd.
Part
I
th
unsnared);
Tambouri
ne
(?)
WARNING:
The copying
of
the
whole or
any
part
of
this
publication
is
iliegal
and
can lead
to
prosecution.
All
rights
teserved
Printed
in
England
NOT FOR
SALE
MARCHtr
DU
SOLDAT
Bass
Drum;
Field
Drum
&
Snare
Drum
I
L.H.
mallet
1,
R.H.
mallet
2.
)
=tt2
F.D.
&
B.D.
n
Bassoon
H1
RE MATERiAL
7/23/2019 l'Histoire Du Soldat
http://slidepdf.com/reader/full/lhistoire-du-soldat 2/12
)
@
64
Percussion
PETITS AIRS
AU BORD
DU
RUISSEAU
ru
Tacet
"Donnez-moi
votre
violon.
. .
.
. Puis, de nouveau,
c'est comme
avant."
"Give
me
your
víolin
. .
,
.
. .
. .
Then
eterything
is as it
was
before."
"Gebt
mb
die Giege .
.
Es
gibt
die
Zeit
nicht mehr,"
Reprise:
MARCHE
DU
SOLDAT
(p.1)
PASTORALE
rv
Tacet
Reprise:
PASTORALE
rv
Tacet
"Il
s'était
mis
à lire.
. marchand
d'abord,
marchand
d'objets."
"He
took
the book.
.
and
became
a
pedlar,
a seller
ofwares."
"Er
liest
im
Buch.
.
.
handelt
mit buntenwaren."
ROULEMENT
DE
TAÀ{BOUR
/
DRUXT
ROLL
/
TRON{MELWTRBEL
.
.
.
satin
duchesse,
prir
d'avantguerre."
.i:
.:
.
.
.::
'Jf,:',3ffí::::,
ii'':::"ii:íi:;,:;isen .
.
.
,,
ROULEMENT
DE TAN4BOUR
/
DRUA,T
ROLL
/
TROI,{À,{ELWTRBEL
"N{archand d'abord.
"A
pedlar
first
.
"Wfud Kaufmann erst.
.
.
Reprise:
PETITS
AIRS
.v
Tacet
Reprise:
PETITS
AIRS
ru
Tacet
LR
Musique
de la
Première Scène
Musique
de
la
Deuxième Scène
Musique de la
Troisième
Scène
ì,_,
a,
f
@
p
subito
71
78
repeat
ad lib.*
*
Repeats
are
made for staged
perforrnances.
7/23/2019 l'Histoire Du Soldat
http://slidepdf.com/reader/full/lhistoire-du-soldat 3/12
Percussion
Part
II
MARCHE
DU
SOLDAT
Field
Drum
& Snare
Drum
I
(both
unsnared);Tambourine
l,
R.H.
mallet 2.
o
Cornet
LR
poco
yf
secco
Bass
Drum;
L.H.
mallet
J
=ú2
/ît
L5\U
+zOr
R
@,
"Il
ne sait
pas
liu-mdme. . . , . avec
le
sac en moins
et les choses
dedals."
"He
doesn't know himself.
. .
. .
except
of
course he
has
no
pack
îo bear,"
"Er
weiB
es es selber
nicht.
. . .
.
und etw'as
Krimskrams
drin."
p
subito
r
"Un
autre
pays
a
présent.
.
. .
.
où
je
vais?
je
vais chèz
le
roi."
"Nov,
he
comes to
another
land
.. . .
Wltere am I
going?
To see
the
Kíng "
"In
einem
anderen
land.
.
.
. .
Zum Kónie und
zur
Kóniein "
7/23/2019 l'Histoire Du Soldat
http://slidepdf.com/reader/full/lhistoire-du-soldat 4/12
Percussion
MARCHE
ROYALE
Bass
Drum
(mallet
le,
also struck
edge
and
Snare Drum
I,
unsnared;
Cymbal,
mounted
on
the
edge
with
shaft of mallet
2.)
L.H.
mallet la,
R.H.
mallet.
2.
centre
with
mallet 2);
upside
down
on edge
Field
Drum,
snared;
of
Bass Drum
(struck
)
=ll2
m1f
cym.
B.D.
î
S.D.I
RRR
P
B.D.
(edge
&
centre)
RR
())
FR
P
R
R
sim.
@
poco
gf
fr
>
@
7/23/2019 l'Histoire Du Soldat
http://slidepdf.com/reader/full/lhistoire-du-soldat 5/12
To F.D.
(snared):
nfr
Trombone
To B.D.
L.H.
reverse
mallet
1a
( @
s.
D.
I
(unsnared)
1 R.-.RR
R
@'
Percussion
@R
:>
-
v
>
p
*@*
126@
@
"f
L.H. reverse
mallet
la
to
match
mallet
2.
F.D.
(snared)
"On
a
fait
marcher
la
musique.
.
.
,
.
Tu reprends ton
bien.
"TheJ'
gave
the
word,
. .
,Yo\N
take bock
your
ou'n
again."
"N{usik schon
unterw'egs.
.
.
.
.
.
Jetzt
gehórt
sie
wieder
dir
"
*
The
fives
should
be
played
rapidly
before
the main
beat
-
single strokes
or
a
six-stroke
roli.
7/23/2019 l'Histoire Du Soldat
http://slidepdf.com/reader/full/lhistoire-du-soldat 6/12
PETIT
CONCERT
Field
Drum,
unsnared
l. R.H. mallet2.
Percussion
t'7\
tq\
/,i
8e@
101
q,
Bass
Drum;
L.H.
mallet
)
=I2O
Cornet
@
@
B.D.
(eg
&
centre)
@
R
Viol
@
20
5
7
óì
<;/
()a\
6t
:t/
B.D.-ff
Í tr
Damp
Prepare
for
Tango
7/23/2019 l'Histoire Du Soldat
http://slidepdf.com/reader/full/lhistoire-du-soldat 7/12
Percussion
TROIS
DANSES
as
before;
Snare
Drums
I &
II'
unsnared;
ass
Drum
with Cymbal,
attached
Tambourine;
Triangle.
1.
TANGO
J=c.80
R
R
LR
OR
L.H.
R.H.
10
mallet
I
ntallet2
p
u mosso
laísseXibrer
ToS.Ds.
I&II
66@
2.
VALSE
=JlÒo
o
q9
@
@
@
o))
<2
Vio
)
=92-96
71@
@
@
(8.D.)p
Ragtirne
Prepare
for
Ragtirne; L.H. mallet
2,
R.H.
triangle
beater
(see
Notes).
7/23/2019 l'Histoire Du Soldat
http://slidepdf.com/reader/full/lhistoire-du-soldat 8/12
5Ar
<j7
\\
f
Yr
3. RAGTIME
t_ h
.--
*
6ì,r
rir-
l
n
YA
À
-
70
Q)
Bass
Drum:
Field
Allesro
J
=138
Percussion
To. B.D.
and
S.Ds
I & II
(unsnared);L.H.
mallet 4, R.H.
mallet
2
(or
dou
nded
4
6lt*
RL
rf
,--r
tf
e?
DANSE
DU
DIABLE
&2)
6)
7
ble
e
@
P
@
Drum
and Snare
Drums I
& II
(all
three u
LR
P
@
nsnared).
(t
F.D. and
S.D.l
*
f
Nfallets
3
(or
6)t
*
The
original
instructions were
for
the
two clrums
to
be
placed
in
a
vertical
position
near
to each
other, and
played
thus:
f}
=E'to
ensure
a
mechanical rhythm'.
It
is
norv customary
to
retain the instruments
in
the
normal position,
a
method accepted
by the
composer.
f
In
certain editions:
"bag.
en
baleine,
tète
en
feutre
dur."
(see
Notes).
R.H. to
mallet 4
To
mallets
3
(or
6)
"
Triangle
beater
in
R.H.
(see
notes on mallets
etc.).
7/23/2019 l'Histoire Du Soldat
http://slidepdf.com/reader/full/lhistoire-du-soldat 9/12
Percussion
To mallets
2.
ToS.Ds.
I&II
L Retc.(ad
líb.)
To
B.D.
(edge
&
@--
cent
@
P
@
To
B.D. &
F.D, unsnared;
L.H.
to
mallet
1.
Bass
Drum; Field
)
=120-126
PETIT
CHORAL-'...,
COUPLETS
DU
DIABLE
Drum,
snared;
Snare
Trombone
úú
Drum
II, unsnared.
F.D.
(snared),
E
L
To
F.D.
(snared).
mallets
5.
"rc
To
B.D.
v
L.H.
to mallet
1.
nf
To
B.D.
&
S.D.
II
(unsnared)
Fi.l).
(snared),
9
Cornet
R.H. to
mallet
2
To
mallets 5
GRAND
CHORAL-racet
"Si on allait,
si on allaitl.. . . .
Il
l'appelle,
il s'est
retourné."
"Suppose,
suppose
we
went there . .
. ,
lte tunts back,
tlten
changes
his
mínd"
'1Vennrvir
hinreisten?...,.
Er
ruft.
Er
xinl:t
-ein
letzter
Blick."
7/23/2019 l'Histoire Du Soldat
http://slidepdf.com/reader/full/lhistoire-du-soldat 10/12
10
Percussion
with
Cymbal
attached
as
before;
all three
unsnared.
MARCHE
TRIOMPHALE
DU
DIABLE
Bass
Drum; struck edge
and centre,x
Field Drum and Snare Drums I &
IL
L.H.
mallet
1b;
R.H.
mallet
6.
)
=tl}
@o
L.H.
mallet
L.H.
reverse
mallet
^Í
L.H.
reverse
,--,mallet
tUt-o
:>>
>
î
o\
45\ ./
L.H.
reverse mallet
to hard
felt end.
"f
*
In the
manuscripts and 1924
score and
part
there is
confusion
as
to
which
bass
drum
notes should
be
struck
on
the
edge
and which
in the centre.
The
Editor
believes that the
composer
intended
the same
effect
as in
trlarche Royale,
where the bass
drum
struck
centrally coincides
with
the
cymbal,
and
the
part
has
been
emended
accordingly.
7/23/2019 l'Histoire Du Soldat
http://slidepdf.com/reader/full/lhistoire-du-soldat 11/12
Percussion
l1
L@R
@L
LRL
LRL
*
The
'double
rights'
follow
the original
'tails
up
(R)
and
tails down
(L)'.
They
should
be
strictly
observed
to maintain the bass
drum
struck
rvith left
hand.
i
The
concluding
bars remain
P
.
The
present
editor of the
percussion
part
playecl
on
occasions
under
tire
composer
and can confirm
that
this
is
what
he
preferred.
*
R
L
RRL
Isempre
Pal
fineJl
7/23/2019 l'Histoire Du Soldat
http://slidepdf.com/reader/full/lhistoire-du-soldat 12/12
NOTE BY
THE EDITOR
OF
THE
PERCUSSION
PART
Note
de
L'Editeur
Anmerkunp
des Redakteurs
pour
la
partie percussion
der Partie
fìii
Schlaginstrumente
Un
Triangle
Un Tambour
de
Basque
Deux Caisses
Claires
sans
timbre,
de
taille
differente
Un
Tambour
sans
timbre
ì
Un
Tambour
à tirnbre
J
une
Grosse
Caisse-une
Cymbale
frxée
à
la
Gr.
C..
ORIGINAL
Mailloche
Baguettes
en
jonc
à
tète en capoc.
Baguettes en
feutre.
Baguettes
minces à
petites
tères
en
éponge
Baguettes
en
bois
Baguettes
en baleine tète en feutre dur
i. The
percussion pan
is
which
remains
constanî
Bass
Drum
INSTRUMENTS
SUGGESTED
EQUTVALENTS
. Triangle I.
fmounted
on
a stand.
.
t
ambounneJ
.
Snare
Drum
II
(shallow),
with
snare release.
Snare
Drum
I
(medium
depth),
wirh
snare
release.
. Field
Drum
(or
deep
Snare
Drum),
with snare
release.
.
Bass
Drum
with Cymbal
attached
to hoop (see
nore
iii
below)
MALLETS
ORICINAL
PERFORMANCE
NOTES
set
out on a single
stave
and
each
instrument
is allotted
its own line,
in
throughout
the work.
Field Drum Snare
Drums
Tambourine
.
SUGGESTED
EQUTVALENTS
l. Bass
Drumsticks:
(a) one
with reverse
ends of wound
fibre
or
wool
to
march
mallets
2,
for use in
Marche
Roltale.
(b)
one
with
reverse
end
of
hard
felt, for
use
in
Marche
Triomphale.
2.
Medium-hard vibraphone
mallets
with stiff
cane
or
ideally
wood
shafts
for
striking
cymbal
("bois").
3.
Hard felt
sticks
with
cane
shafrs.
4.
Timpani
sticks
wirh
softish heads, preferably
wirh reverse
medium-
hard
heads
for
Ragtime.
5. Standard
snare
drum
sticks.
6.
Hard
felt
ends
on stiff
wood
shafts.
These
could be used
in
Danse du
Diable where
"bag.
en
baleine" were
originally specified).
ascending
order of
pitch,
Cymbal
riangle
.r}
+
(edge)
Unless otherwise
clarity.
The
cymbal
attached
to
-the
hoop
of
the
bas.s
drum should
be
mounted
upside
down
and
struck
on
rhe
edge
with
the
shaft
of the drumstick to
produce
as
near
as
possible
the soun-d__of a p_air-of_c1'mbals
played
"military
band
fashion".
According
to
the eminent American
composer
a-nd
percussionist,
William
Kraft,
Stravinsky,
on
a specific'occasion,
approved
of the
'
use
of the modern
hi-hat foot
cvmbals.
The
suspension
of the
tambourine and
triangle should
present
no problem
to rhe enthusiasr.
If the
tambourine
is mounted
upside
down
and
sîruck on the
rim
with
the
shaft
of the drumstick
as suggested,
a narrow
srrip of felr
glued
ro
rhe
rim
will
lessen
the
click
from
the
shaft
of
the drumstick
and
at the
same
time strengthen
the
sound
of
the
jingles
(see
Marche
du
Soldat).
ln Ragtime, when the tambourine
and
triangle
are
plal'ed
together) a
triangle
beater
will
serve
ro
strike both
instruments,
retaining the
correct sound
from each.
v.
The
provision
of
the
various double-ended
mallets
as suggested
u'ill
contribute
towards
rapid
and
noiseless changes.
Tambourine
Triangle
SUGGESTED
LAYOUT
OF TNSTRUMENTS
upside
down)
III
(centre)
(large)
(small)
indicated
the bass drum
should
be struck
near
the centre
and,
in
general,
should
be
slightly
damped
for
(mounted
upside downl
\-
€-€'
tnlSl^(::.::\"g- -LJ
Bass Drum
I
987.
top related